From clichés to slogans: towards a Deleuze–Guattarian critique of ideology

When thinking about ideology as a form of practice, Deleuze and Guattari show how ideology can circulate through the social as cliché, where clichés are themselves ideological tools that function to order the world or ideologically pattern social action and social relations. Against clichés Deleuze and Guattari insist on the power and political significance of what they call slogans, where slogans or the practice of sloganizing can imply a critique of the forms of ideology we encounter in everyday life. Put differently, a Deleuze–Guattarian critique of ideology implies a clearing-away of the clichés that ideologically play through the canvas of our social–political world.     

Habermas and the pragmatics of communication: a Deleuze–Guattarian critique

The intention in this article is to explore, explicate, and, ultimately, critique Jurgen Habermas' communication theory. Drawing on the pragmatics of Deleuze and Guattari we will propose that Habermas' defence of the importance and priority of communicative action is problematic to the extent that it implicitly involves the issuing of an imperative order that cannot be accounted for within the normative framework that he envisages. In other words, we will be suggesting—with the help of Deleuze and Guattari—that Habermas, undoubtedly against his best intentions, precipitates, what we will call, a strategic levelling of communicative action.     

Animal body,inhuman face

In the present essay, I apply various concepts associated with the thought of Gilles Deleuze and Fe´lix Guattari to an inquiry concerning what I call the ‘ontology’ of musical creation and performance. Specifically, I utilize both the theory and approach of ‘schizoanalysis’, which so pervasively marks co-operative works such as Anti-Oedipus and A Thousand Plateaus. Deleuze and Guattari's schizoid becomes the model for my musician-performer. This ‘schizoid musician’ is the one who has the ability to apprehend that of a ‘musical space’, a central theme of the essay. Some additional clarification is needed as well. Although I surely offer this essay to the reader as a thoroughly honest, and hopefully provocative, attempt, it is also something of an indebted experiment. That is, the ‘after’ of my essay's title-as in ‘after Deleuze and Guattari’-has essentially two meanings. The first, and obvious meaning: I write after Deleuze and Guattari in that I inherit, to whatever extent, their thought. I grapple with their ideas. The second, and perhaps more unconventionally risky (because potentially easily misconstrued as representative of a kind of blind fidelity): I write after Deleuze and Guattari in the way that a painter paints ‘after’ another painter, in the way that a composer composes ‘after’ another composer, and so on. In one sense, the selective utilization of a sensibility associated with the schizophrenic condition provided the 'silent partner' and underlying guiding influence for Anti-Oedipus and A Thousand Plateaus. Thus, this essay is, in part, a modest attempt at yet another 'fold' (to use a term of Deleuze's) in a philosophical inquiry-some kind theoretical exemplar of ‘difference and repetition’ (or, difference in repetition). This indebtedness notwithstanding, the reader will notice the scholarly utilization of Deleuze and Guattari also in terms of a silent partner, a guiding influence, and less in terms of a source that is explicitly acknowledged or referenced. This was an intentional part of the experiment from the beginning. Of course, other thinkers, on the other hand, will come to occupy such a space in the essay.     

Deleuze,cinema, Bergson

In the Cinema books, Deleuze integrated his ‘counter‐history’ of philosophy and arrived at a philosophy of art. For him, the artist is a ‘creator of truth’ because truth is not to be achieved, formed, or reproduced; it has to be created’ (Cinema 2 1985: 146). Stressing the pre‐eminent importance of the ‘creation of the New’, Deleuze calls on us to reread and rethink with him the works of Bergson, whom he views as indispensable to the ‘pure semiotics’ of cinema.     

Introduction: A post-Polanyian political economy for our times

Abstract

2014 is the seventieth anniversary of the publication of Karl Polanyi's The great transformation and the fiftieth anniversary of its author's passing. This special issue celebrates these markers by bringing together a collection of critical engagements with Polanyi's work which, whilst sympathetic to his intellectual aims, ward against any straightforward application to contemporary issues. In so doing, it suggests that part of the value of Polanyi's work lies not in its ability to be recited, repeated and re-applied in its original form, but rather in its openness and its susceptibility to alteration and transmutation. In this introductory article, I consider the return to intellectual ‘voices from the past’ in the post-2008 landscape. I suggest that the distinctiveness of Polanyi's voice comes from his attempt to problematize, challenge and re-imagine the very notion of ‘economy’ itself, a theme which underpins all of his most important ideas, and one which reverberates across contributions to this special issue. I suggest that, beyond his immediate critique of free-market ideas, the desire to de-centre the notion of an autonomous economic sphere – and to challenge abstract modes of thought that address such a notion, regardless of their political sensibilities – is his most valuable legacy, and one which might encourage us to seek out new innovations and engagements in future Polanyian scholarship.     

Tricking Posthumanism: From Deleuze to (Lacan) to Haraway

A lineage has been drawn between the immanent philosophy articulated by Gilles Deleuze and Félix Guattari and the work of Donna Haraway, most notably by the nomadic feminist and immanentist Rosi Braidotti. However, while containing certain parallels via the process nature of their ontologies, upon further inspection, such an equivocation is unwarranted on the grounds that it fails to remain nuanced in distinguishing the precise ‘mechanism’ or midwife that gives birth to the continued proliferation of the flux of becoming. This disparity is exposed through the erection of a homology using Lacanian psychoanalysis that eases the passing from immanentism to Haraway by showing that the latter inscribes the obverse of L'Autre (the big Other) into the field of becoming unravelling privileged channels of desire. This results in an ingenuity that can never be pinned down by the signifier and, further, actively works to subvert it through ploy.     

Deleuze and Guattari's Historiophilosophy: Philosophical Thought and its Historical Milieu

Abstract

This paper will examine the relation between philosophical thought and the various milieus in which such thought takes place using the late work of Gilles Deleuze and Félix Guattari. It will argue that Deleuze and Guattari's assessment of this relation involves a rearticulation of philosophy as an historiophilosophy. To claim that Deleuze and Guattari promote such a form of philosophy is contentious, as their work is often noted for implementing an ontological distinction between becoming and history, whereby the former is associated with the act of creation and the latter with retrospective representations of this creative process. Furthermore, when elaborating on the creative nature of philosophical thought, Deleuze and Guattari explicitly refer to philosophy as a geophilosophy that is in contrast to history. Nevertheless, this paper will demonstrate that far from abandoning the category of history, Deleuze and Guattari's analysis of the relations between philosophical thought and relative milieus suggests to us an historical ontology and methodology that is a critical part of philosophy's nature.     

Deleuze and the liberal tradition: normativity,freedom and judgement

This paper is a critical review article of Paul Patton's book, Deleuze and the Political , and analyzes the relationship between Deleuze and the 'liberal' tradition of political philosophy. It focuses on three concepts drawn from the liberal tradition - normativity, freedom and judgment - and in each case shows how these concepts are capable of being transformed in light of Deleuze's philosophy. For Deleuze, a truly 'normative' principle must be a principle of creation as well as critique: it must not only provide norms for condemning abuses of power, but also a means for transforming norms that have themselves become abuses of power. From a Deleuzian perspective, the normative is thus seen as the condition for the production of the new. The liberal notion of 'negative freedom' in turn finds itself transformed into the stronger notion of 'critical freedom' (Tully), which entails the freedom to critique and create, to transform (and not merely pursue) one's own interest and desires. This entails, finally, an exercise of a kind of judgement outside pre-existing rules or norms that would be truly creative of the new (e.g. the production of new rights). A concluding section of the concept of the 'social imaginary’ shows how Deleuze's work might contribute to a transformation and rejuvenation of the liberal tradition itself.     

Hume Reads Freud: Empiricism as Rhetorical Event

Abstract

The two competitive currents in French philosophy initiated by Jacques Derrida and Gilles Deleuze tackle the difference between empiricism and idealism in contrary motion. In Derrida, the move is toward a critique of representation. In Deleuze, it is toward recovery of the real. Nevertheless, this paper nominates their meeting in a kind of ‘radical empiricism’. Both Derrida and Deleuze engage with empiricism at certain points in their work, although many who go by that label would be surprised to hear it.     

Conference Plenary: When Liberation Movements Become One-Dimensional: On Critical Theory and Intersectionality

Abstract

One of the great obstacles to liberation and social change is the one-dimensional focus of many liberation movements. By “one-dimensional,” we mean the narrow reductionist approach to social change by many oppressed groups. In this article, we examine Marcuse’s notion of catalyst groups and connect that to the concept of intersectionality. We argue that critical theory must become a theory of intersectionality. While various forms of oppression have their own distinct logic of operation and specific target group, the continuation of each form of oppression is supported by other forms of oppression. One of the goals of this plenary was to help participants focus on the theme of the conference, critique and praxis, by envisioning new possibilities for theory, critique, praxis, and pedagogy in our time. To this end, we attempted to rethink Marcuse’s notion of one-dimensional thinking by linking it with Rene Girard’s concept of mimetic rivalry and the black feminist concept of intersectionality.     

Herbert’s Herbivore: One-Dimensional Society and the Possibility of Radical Vegetarianism

Abstract

Careful reading of Herbert Marcuse’s texts, including Counterrevolution and Revolt, One-Dimensional Man, An Essay on Liberation, and Eros and Civilization, reveals his subtle attention to the human–animal dialectic and its role in human liberation. More specifically, animals mark the irrationality of advanced industrialized society for Marcuse, and his subtle but keen treatment of the animal question in politics provides an opening to radically rethink politics for animals and humans. Working from Marcuse’s critical theory, I explore the contemporary one-dimensional animal, which I argue imbricates both animals and humans in the violence and destruction that characterizes advanced industrial society. Using Marcuse’s concept of one-dimensional society and his discussion of animals as my theoretical framework, I specifically consider vegetarianism in its capacity to militate against the contemporary political economy of meat. I conclude that Marcuse’s insights point to a radical vegetarianism aligned with anti-capitalist politics that offers the development of sensuous, pleasurable, life-affirming sensibilities that support true liberation for both animals and humans.     

Fleshing Out the Political

Abstract

This paper attempts to draw out the political import of Merleau-Ponty’s ontology of the flesh, by engaging the critique levelled against it by his student and literary executor Claude Lefort. In suggesting a tension in Merleau-Ponty’s work that obscures alterity, Lefort seems to miss the rich political import of Merleau-Ponty’s ontology of the flesh. Founded in his development of the concepts of écart and reversibility, Merleau-Ponty’s ontological position breaks with many of the standard tenets of political thinking, and offers a multifaceted conception of alterity. I will suggest that Lefort’s own claim to alterity buckles under the immanent weight of his critique of Merleau-Ponty, offering at best a conception of otherness limited to a self-relational non-identity. This conception ultimately fails to adequately consider the relations existing between different beings-in-the-world. In thinking being as flesh, Merleau-Ponty offers us an ethico-political optic that attempts to think alterity and ontology in a manner that unhinges us from our closed and autonomous being, opening us to the world, others and to the non-identical becoming that characterizes being as such.     

The Normativity of Work: Retrieving a Critical Craft Norm

Recent social theory has begun to reconsider how the activity of work can contribute to well-being or autonomy under the right conditions. However, there is no consensus on what this contribution consists in, and so on precisely which normative principles should be marshalled to critique harmful or repressive forms of workplace organisation. This paper argues that Richard Sennett’s concept of work as craft provides a normative standard against which the organisation of work can be assessed, especially when explained within a broadly Aristotelian account of the conditions of human flourishing. More precisely, the paper argues that a craft norm can meet the standards of social critique within the Frankfurt School tradition of Critical Theory, as this tradition has been interpreted by Axel Honneth. Honneth himself now rejects craft norms as too utopian and parochial to inform Critical Theory under contemporary economic conditions. In reply, this paper uses sociological studies of call centre workers to illustrate how work motivated by craft ideals can be sustainable rather than utopian, and how craftsmanship can inform social critique across a wide variety of industries and management practices.     

Democratic and constitutionalist elements in Khomeini’s Unveiling of Secrets and Islamic Government

This is a study of Khomeini’s two main pre-revolutionary political works: one, Islamic Government, in which he urges his audience to accept that Islam is a political religion and jurisprudents of Islamic law have a crucial role in government; and a second, The Unveiling of Secrets, of which only short excerpts have been translated into English and which has received scant attention by scholars outside of Iran. This latter work is crucial to study because in this work, he elaborates his view on democratic and constitutionalist principles, subjects he had treated only vaguely and briefly in Islamic Government. Contrary to much of the secondary literature produced on Khomeini, which claims that Khomeini’s theory is simply a theory of guardianship, antithetical to participatory government, the article claims that in The Unveiling of Secrets, and (though more ambiguously) in Islamic Government, Khomeini appeals to democratic and constitutionalist principles to argue that the views of common citizens, and not just experts in Islamic law, must be heeded by an Islamic government. Recognizing the complexities and ambiguities of Khomeini’s thought both in his earlier and later works allows us to understand and engage in dialogue with the scholars who inherit and critique his ideas today.     

Deleuze and literature: Metaphor and indirect discourse

This paper deals primarily with Deleuze's work on literature? but also looks briefly at related ideas in the books on cinema. Deleuze has often concentrated on what he calls ‘American‘ literature, particularly in Critique and clinlque. The first part of the paper seeks to outline some of the main elements of this particular literary field for Deleuze. The paper then goes on to show how the general rejection of metaphor that informs Deleuze's work on literature can be more precisely defined as a theory of free indirect discourse. The concept of free indirect discourse is? as Frangois Zourabichvili has shown, at the heart of Deleuze's work? aesthetic or otherwise. For example, the idea of the percept functions as an aesthetic application of free indirect discourse, and Cinema 1 and Cinema 2 suggest that this form of enunciation represents a new aesthetic cogito to which cinema is ideally suited.     

Transformations in Discourse,Figure

This review essay critically maps the Anglophone reception of Lyotard's Discourse, Figure onto the text's own two-part organization. Earlier deconstructive readings tended to focus on the critique of structuralism presented in Discourse, Figure’s first half, under-emphasizing (and even criticizing) the post-Freudian philosophy of desire developed by Lyotard in the text's latter stages. This essay instead presents Lyotard's first major work not as two separable or opposed parts, but as a coherent trajectory responding to a specific philosophical problem, namely, the Hegelian account of sense-perception and signification as outlined in Hyppolite's Logic and Existence. In so doing, this review essay seeks to isolate key references and clarify the stakes for future readings of Lyotard's text.     

“Willing the Event”

Abstract

A major problem threatens Deleuze’s project in The Logic of Sense. He makes an ontological distinction between events and substances, but he then collapses a crucial distinction between two kinds of events, namely, actions and mere occurrences. Indeed, whereas actions are commonly differentiated from mere occurrences with reference to their causal dependence on the intentions of their agents, Deleuze asserts a strict ontological distinction between the realm of causes (including psychological causes) and the realm of events, and holds that events of all types are incorporeal happenings which are inseparable from expressed sense. For Deleuze, what counts as one’s action thus does not depend on one’s intention, but rather on a process of “making sense” of that action. Nevertheless, Deleuze continues to speak of the need to “will” the event. In order to resolve this apparent contradiction, I will read a conception of “expressive agency” into The Logic of Sense.     

Other(s) Worlds: Mysticism and Radicalism at the Fin de Siècle

Abstract

Over time our understanding of the ‘political’ has been progressively shaped by the secular rational calculations of modern European political thought. This paper aims to critique these ‘calculations’ with reference to crucial moments of departure and flight within western philosophy itself. It concludes by reclaiming fin de siècle radicalism/philosophy as a forgotten instance of empirical-metaphysical hybridity: a form of politics or ethics capable of housing the imperatives of both desire and prayer.     

Im/pulsive practices: The logic of sensation and painting

The article ‘Im/Pulsive practices: painting and the logic of sensation’ offers a critique of Gilles Deleuze's interpretation of the notion of the ‘figurai’ which is elaborated in his 1989 article, ‘Francis Bacon: the logic of sensation \ This article argues that the effects of the figurai may be activated in figurative and abstract painting and not just in the work of Francis Bacon.